Yes, I am primitive. Little did I avoided this album because of the logo, a little more because of the name. Somehow, when the band uses the name of a super famous band in the same or a related genre, it all seems like a cheap way of selling and paying attention.

But the time has come to cast your ear and the "meat composition." Corrosive Carcass and Swedes were playing death metal. For three-four-sad! to name a band from Sweden who plays death metal that is not only inspired this, but a million other bands. I know that 90% of you thought 'Dismember, the rest might have said Entombed, and I believe a few of you thought' Unleashed and if you already have the knowledge on the design of logos and similarities between the logo and the band unleashed.

The truth is, Corrosive Carcass is reverbovana / echo version dismember it puts you in a dead end - or you buy or you will fail. There is no happy medium. Like their fellow death metal, Corrosive Carcass is deeply entrenched in the horror and violent lyrical themes, even in a childish way, which is again a double edged sword, if you submit a comic, almost a caricature of attitude toward subject matter as it was a impetigo, fule no, this is the album for you.

There is nothing to add. Swedish death metal.

This review was originally written in Serbian and has been translated using Google Translate. To view the original review in Serbian click the link below.

FESTER were founded in Askim/Norway back in 1989 as Heroic Conduct. A year later we changed our name to FESTER. It was Anders Odden in Cadaver who came with the name, and it fitted our dragging and gloomy music perfect.. Our first demo "The introduction" was released in 1991 and our "Winter of Sin" demo in 1992. No Fashion Records released our debut as their first cd release the same year. Austrian Lethal records released "Silence" in 1994 and then the band split up in 1995. We were supposed to come back together in 2000, and No Fashion Records re-released "Silence" to create some fuzz..(One of their last releases), but unfortunately our bass player Jørgen died, and it all fell to pieces. The inspiration was lost and it took a while until the FESTER wibe came back.. Kyrck Production released our demos as a compiler in 2010 and it all came back.. After re-releasing our first two albums as well (2010-2011- Abyss/Ironebonehead) we released our third studio album earlier this year: An anthem celebrating death itself, entitled "A celebration of Death". In addition to myself (only original member), Thomas Andresen (Algol/Sincera) and Jon Bakker (Kampfar, Gruesome) are now core members. Thats 20 years summed up briefly.

2. What lyrical theme do you guys use in your music? What message do you want to send?

Most of our lyrics are personal lyrics written in 1.person. Stories about embarrassing death, war, norse myths, antichristianity, lack of life will.. You know : your usual Norwegian bedtime stories.

3. How have the gigs you guys been doing been?

We used to do a lot of gigs back in the early 90's. I have always hated it though.. for several reasons. I prefer working in studio creating.. The other members are very keen on gigging , and we have got offers from over 15 festivals and offers on touring Germany, Netherlands, Spain, Italy and the US. Who knows what the future will bring?

4. What equipment do you guys use?

On our latest release we wanted to create a dark and old sound. We used old amps and guitars from the 60's and 70's to create a certain vibe that was impossible to create with new stuff. Quite strange that many zine's n stuff has given us an industrial reference on our new album.. Never intended, but most reviews has also commented on the organic and dark atmosphere that we've managed to create.

5. What bands have influenced your band and its sound?

We've always been inspired and influenced by the old school. Early Kreator, Pestilence, Slayer, Celtic Frost and Metal Church were a few of many inspirations back in the days (still..), but one can also recon a big Heavy Metal vibe, and also early Black acts.

6. Do you remember your first show and what was it like?

I don't remember our very first BIG gig, but I remember we did a small gig at our rehearsal place with invited friends and girlfriends.. We made "official" tickets and all.. Ha ha! I thing we packed about 30 people people in that small basement.

7. What made you guys decide to form a band?

We wanted to create dark, aggressive and melancholic tunes with our own touches. Our intention was never to become big or "stars". One have to have in mind that things were quit different back then.

8. What is your opinion on sites posting your guys material and other bands material?

I have always been a fan of physical products, but I can also see the advantage of good promotion through mention sites. What I cant accept is people downloading our stuff and raping the whole scene.

9. Is there any bands that you guys enjoyed playing with more then the others?

Jon has played with the lot with kampfar. Personally I'm into Blut aus Nord, The Konsortium and Ysengrin nowadays. Great bands!

10. How do you guys feel about the classifications in metal? like deathcore, metalcore and other subgenres and how some get a negative rep.

FESTER has always been difficult to put in one of your mentioned genres. I don't care what you call our music as long has our "mood" has come forth. Black, Death , Core or shit or fuck. It's all the same to me. Some bands might, as you say, also get a negative rep because they have been put in a "wrong" genre. Back in the days we played (according to Zines) a mix of Black and Death metal/Doom metal. Being a part of the evolving 2.wave of BM where nothing else mattered..... thing weren't exactly cut out for a band that didn't want to compromise with our own feelings. Its better to be loved by 2 than liked by the thousands.

11. What song do you enjoy playing the most?

On my rack ? Right now I totally love KREATOR's : Love us or hate us !!

12. When not doing things with the band, what can you guys be seen doing?

Ordinary family men with wife's, jobs and kids.. You might quit often see us in the wood lighting a bonfire and just enjoying mother earth.

13. Your biggest band moment?

Driving for 12 hours straight to get my hands on our first cd back in 1992.

14. What is your opinion on the current state of metal?

Metal is alive and kicking, but as long as the fans doesn't see that they are killing the scene them selves by downloading, the scene will die.

15. How did you guys come up with your band name?

As mentioned it was Anders Odden in Cadaver who came up with it. PS : NOT the infamous uncle..

16. What can the fans expect to see from you in the future?

We will go in studio to start on the pre-production of our next album early 2013. It will be a concept album like you've never seen !!! A journey in art, metal, literature and history!!!!! We will surely keep holding hands with the dark.

Every genre, it seems, has its own sense of nostalgia. As the classic bands of every facet of metal continue to chug along, and in many cases find more success than they've had in decades, a new wave of bands is popping up, using the classics as more than merely an inspiration. While there are the bands making waves with their new takes on familiar tropes, there are even more dedicated to replicating what was great about the past, giving fans who weren't old enough at the time a look back into what the scene was like when innovation was everywhere.

Swedish death metal never went away, per se, but it was overtaken by the melodic death movement for more than a brief period. Bands like Entombed and Grave never disappeared, but they made records in the shadows, waiting for a time when they would once again be able to lead the charge. For whatever reason, a renaissance of seemingly every classic genre has come about in the last few years, which makes the throwback sounds of newer entries even less vital. It's a simple fact of math, if both new and classic bands are treading the same ground, there's less attention the upstarts can earn.

Daemonicus's second album, “Deadwork”, is borne from the tradition of Swedish death metal, containing all the buzzsaw guitars and subtle melodies of the classic era, time-warped into the modern age. The opening, dissonate, tremolo-picked notes of the quasi-title track are pure nostalgia, as is the Sunlight Studios guitar tone that rips the song open as the first real riff appears. If I didn't know better, I'd swear it was 1995, which I mean in the best way.

“Dead Work Of Art” pounds through five minutes of old-school death metal, alternating frantic sections with groove-laden riffs, letting the song ebb and flow as it moves along. It's another throwback to the old days, a welcome relief amidst the sea of bands that know only brutal and more brutal. A bit of songwriting and restraint are uncommon occurrences, and exactly what make “Deadwork” a better album than it could have turned out to be.

When “The Grandeur Of Termination” introduces those cold guitar harmonies, the music begins to take on another dimension. Juxtaposing the grinding riffs and throaty roars with a hint of melody shows facets to death metal that are often ignored. It's not impossible for death metal to explore territory outside brutality, but few take that approach anymore. The layered growls in the chorus expand the sound further, making the song sound epic in scope, and almost becoming a catchy number.

Those layered growls reappear in “The Hymn Of Udo Sathla”, which despite the frantic riffing and aggression dripping from the vocal, is another song that approaches catchiness. These types of songs remind me of the days when growlers still spat venom, but did so in a way that was not only intelligible, but encouraged growl-alongs with the audience. It's a simple bit of participation that helps fans latch onto songs. The bare-bones nature of this brand of death metal makes it the perfect representation of the art, and the kind of thing that, like it or not, can get stuck in your head if you aren't careful. There may not be any curveballs on the record, but that's the way we want it; straight-ahead and full-bore.

“Deadwork” is, at its heart, a nostalgia trip. There's absolutely nothing new to be found in these ten songs, but there doesn't need to be. All that was old is new again, and “Deadwork” is a solid recreation of the classic Swedish death metal sound. Comparing it to the classics would be unfair. And while it's not as strong as a latter day bolt of lightning like Entombed struck with “Morning Star”, nor is it a modern vintage masterpiece along the lines of Bloodbath's “Resurrection Through Carnage”, “Deadwork” is everything a fan of old-school death metal could want.

We started in 2000 played and released three demos between 2002 and 2005. We went through some big line-up changes and changed the sound of the band. I don’t really know what specific genre we belonged to, nor do I care, but our sound, although always melodic, became rougher through the years. We took a break from the band for a couple of years, Andreas and I decided to get it started again so we wrote and recorded The Spirit of Warfare which was released on Abyss records in 2011. Currently we are writing material for the follow up to that album. If you want a more thorough background on our band I would suggest checking the timeline on our Facebook page at; http://www.facebook.com/HyperboreanSwe Its a lot more in depth.

2. What lyrical theme do you guys use in your music? What message do you want to send?

The lyrical subjects differ. Early on they were based on norse mythology, for The Spirit of Warfare the main theme was the first world war and for our upcoming album a number of subjects will be in focus but one three of the songs will have lyrics dealing with the black plague. As for a lyrical message, I don’t like to explain them to deeply, I think its up to the listener to analyze them and take what they can from them. But most of them are based on some historical event so I guess spreading a little historical awareness could be on purpose.

Well there really aren’t any obvious ones. We had some strong influences in the beginning but that is 12 years ago with a completely different line-up and sound and they aren’t really relevant for how we sound today. People seem to compare us to a very wide range of bands, and sometimes I really do not get some of those comparisons at all. I guess we try to not emulate or pick up too much from other bands, I´m sure we do regardless but not as a conscious effort.

6. Do you remember your first show and what was it like?

It was a show on a small festival here in Sweden, as I remember it went quite well but it´s been 10 years since we did it.

7. What made you guys decide to form a band?

I don’t really recall any other reason than us just wanting to write some good music so I guess that would be it.

8. What is your opinion on sites posting your guys material and other bands material?

If we haven’t authorized it I can´t say that it’s a good thing. Recording and equipment costs a lot of money and if people just download for free then we have to pay for everything ourselves which is hard to do in the long run. But people are cheap and most will just steal it anyway, it´s hard to stop.

9. Is there any bands that you guys enjoyed playing with more then the others?

We don’t play live.

10. How do you guys feel about the classifications in metal? like deathcore, metalcore and other subgenres and how some get a negative rep.

I really couldn’t care less. I don’t even know what label or term to stick on our own music, if its good its good and I´ll listen to it regardless of style or genre, if it´s not I won´t. I´ll leave it to other people to bicker and argue over genres and arbitrary classifications.

11. What song do you enjoy playing the most?

We don´t play live, but if we did I guess it would be something of off our upcoming album as it would be new and fresh to us.

12. When not doing things with the band, what can you guys be seen doing?

Live our lives I guess. Nothing to exciting, currently I´m studying political science and spend a lot of time training in Brazilian jiu jitsu. Andreas mostly works and trains when he doesn’t work on music for Hyperborean.

13. Your biggest band moment?

Probably getting our first album released. Or maybe the first time we got our first demo back from pressing it and getting, one of those two.

14. What is your opinion on the current state of metal?

We don’t really pay much attention to what other bands are doing we focus on our own music.

15. How did you guys come up with your band name?

We picked it 12 years ago when we started the band. Our lyrics used to deal a lot more with mythologies and the name was more relevant to us then as we have since changed the themes and subjects that we write about.

16. What can the fans expect to see from you in the future?

We are in the process of writing and recording a new album and should be released sometime next year. The material is a lot stronger compared to The Spirit of Warfare. We feel that we have made a lot of progress when it comes to writing both the music and the lyrics in the last few years, so I can definitely say that the improvements will be very apparent in the upcoming album. Lyrically we have moved on from the war theme, the new album will deal with the black plague and other subjects as well.

Now this is more like it. Traditional Sabbathy (with a capital "S") doom metal produced by three guys, not six. Showing that three men can produce the kind of music that some bands feel that six, eight, twelve or even thirty men might only be able to accomplish. What you've got here is a raw sounding effort that reminds me very much of the earliest Black Sabbath records. The vocalist was most certainly influenced by Ozzy, yet he's got a bit of a southern drawl that might not appeal to some folks. The guitars thunder with a vengeance, and everything gives off a atmospheric sense of foreboding doom, especially on the title track "The Awakening 7:49." The cover features a Conan inspired barbarian going to war with what looks like a Lich king, but the album itself doesn't seem to flow for that concept. Something darker, like a skull-faced judge sentencing the damned to the abyss, might have been more to the style of this album.

Nevertheless, the guitar melodies are great on this one, and the solos are just as good as any you'd find in traditional doom - something the new The Sword album, Apocryphon was severely lacking. The album does sound a bit thin in areas, but the fact that these guys worked very hard to put it together is definitely there. "The Judge 6:04" might not be so great, but "The Jury 7:25" is most certainly jammable. You'll hear some great melodies on "Broken On The Wheel 5:34" which make me wonder why this thing hasn't been reissued sooner. That middle section is one of the most badass middle sections I've heard in doom in quite a while, and it's the shit I look for. I always subconsciously ask a band when I review, "Alright. How can you amaze me?" and it's shit like that that manages to answer my question.

"The Executioner 3:19" comes off priestly, but I fucking love Priest, so shove it in your ass if you don't like those guys. That's the birth of heavy metal right there, like it or not. However, this song isn't as great as it could be and is kind of out of place, other than the shred-tastic fucking solos. As for the album's technical closer, "The Burial 9:36" those same solos help to pepper the classic doom atmosphere of the track, an atmosphere that goes as far back as the actual "Black Sabbath" in nature. And I'm not just referring to the band, I'm talking about the actual fucking track itself. It's a perfect closer for the album and the way you want a doom album to end.

Bonus Track

The Cloaked Figure - God, I fucking love this one. Even though the lyrics aren't featured on this one, this song fucking kills beyond anything that has ever killed before in terms to just sheer fucking grimness. I used to be "The Grim Lord" so I know what the fuck grim means, and these guys have it. Those are the riffs that play when a meteor is heading straight for the planet, Cthulhu and his minions arise from the sea, or the fucking antichrist is crowned in a golden temple. That's the shit you'll hear in your head. All nine minutes and thirty-four seconds of this song are fucking brilliant. This is the way you END a doom album.

These guys know how to make great doom, just the way the masters have done it - those Masters Of Illusion that we thank partly for metal, (I'd like to think that Priest also owe a big part to it's foundation among others) Black Sabbath. Though a little southern-fired on vocals, this is exactly what I was looking for from the genre and I strongly recommend it, even though there are a couple of tracks that don't quite hit the mark. It's one of those albums that I have to simply say, "even if you've got tracks like this, there's also tracks like THAT and THAT is fucking worth it all."

Highlights: The Awakening, The Jury, Broken On The Wheel, The Burial, The Cloaked Figure (9 Tracks, 53:00)

Re-released in 2011 by Peaceville Records.The re-release contains bonus songs taken from the band’s ‘Deadlights’ EP, also from 1998, as well as 2 rare demo tracks, a cover of Darkthrone’s legendary ’Transilvanian Hunger’, plus instrumental track.

Could you tell us about the new album - what were the recording sessions like?

Wilhelm > We recorded the album at three different places, the drums were done at studio Armageddon in Croatia.

Vedran > It's recorded in Armageddon Studio Osijek, I had a great help from Eldar Ibrahimović-Piper, and I had a great help from Janos Toththe guy from a Artbeat drumstix for sending stix for recording, it's recorded in 8 hours. It was easy to work with Piper. Everything went okay. And I wasn't happy with my playing.

Wilhelm > The guitars and bass were done at my home studio, Funky cat studios. I prefer recording like that cause you have all the time you need, I often get very nervous when recording in a studio. The studio reassure isn't very good for me, so instead of spending money on studio time, I invested in recording equipment. The guitars were done in a few days, with me engineering myself, I used a Eleven rack guitar preamp hooked up to my sound board. My guitar session went well, the hardest songs were actually the simplest songs, A horrible disease, for some reason I was constantly messing up on that one. But after two days or a lot of swearing I nailed it. The Darkthrone cover was also a bit tricky, mainly because I was making it up as I was recording it. My idea was originally just to make a short cover snippet, but since I liked what I was recording I decided to cover the entire thing, and I'm glad I did. The bass was recorded in two sessions I believe, using a line 6 bass pod pro pre-amp. Not too much to say, things went smoothly and we got a great bass sound.The vocal sessions were at Ninja studio in Malmö, we did two sessions with a week apart. My main memory is the confusion of using equipment new to me, and trying to get everything to work, since it was not set up the way we needed it to be. So we had to spend a few hours messing around with the equipment to get it to work. Kind of annoying, but the result speaks for itself.

Could you name some of your influences?

Wilhelm > The main idea when starting this band was to infuse doom and death metal, but in a bit more brutal way then what is commonly done. What I had in mind was to create the lovechild of Bolt thrower and Katatonia. But besides that I'm very inspired by Death, Broken hope, Cannibal corpse and Acheron. But I also get inspiration from my fav singer songwriters, Bob Dylan, JJ Cale and John Prine. For example the finger picking pattern in a horrible disease and the main part in Transilvanian hunger is inspired by John Prine, I guess it is a simplified Travis picking pattern. Simple to do but it sounds intricate. Both Bob Dylan and John Prine inspired me to write topical songs.

Could you tell us about the Doom metal scene currently in Sweden? Any bands that you support?

Wilhelm > To be honest I'm not that up to date with it, I do support and listen to my friend in Morito Ergo Sum.From what I have understood is that the scene is growing, with a lot of bands playing more traditional doom and stoner music. I'm not that into that kind of stuff myself, I'm more into the death/doom and black/ doom smelling things. Here in the south of Sweden where I live, the scene isn't as vibrant, for any kind of metal. I believe it is better farther north, around Stockholm. But since I'm a few hours away, I don't keep tabs on it. I'm still listening to my old Katatonia records!

Do you listen to Swedish punk and metal - old school bands?

Wilhelm > Not so much punk, there is a band called Ebba grön, which is a old punk band that has been defunct for many years, but I think almost every Swede under the age of 60 listened to that band at least at some point in their life. And I would strongly recommend checking out the bands main man Joakim Thåström's solo work. It is more mellow but totally fantastic in my opinion. When we are talking old-school metal I listen mainly to death metal, like Dismember. They are one of my favorite bands, today the retro wave is growing, but I'm sticking to Dismember. I have always listen to more bands from outside of Sweden. Sure we have a lot of really killer bands here, but my favorites for the most parts are none Swedish.

You have been influenced by Bob Dylan and john Prine in your writing - how to do you meld these influences into the framework of doom metal?

Wilhelm > Maybe in the way of the kind of mood I like to have the songs in. And also maybe it has influenced that I like to have a lot of clean parts in the music, but I guess that is nothing new in metal music. I guess that might be more a influence from let say Katatonia. But all music I listen to gets thrown in to the big melting pot that is The Gardnerz. I think out of those three that I mentioned in the earlier question I would say that JJ Cale has been the biggest influence on my song writing. I really like his mellow and laidback style of music.

Are you interested in the occult and in occult writings - do they influence your work?

Wilhelm > No not at all actually. I'm an atheist and materialist (in this sense), I don't believe in anything like that. Our first album was inspired by the French writer Baron d' Holbach, and his book the system of nature. Our debut album has the same name. The book is a dissection of religion and pointing out all it's fallacies and the impossibility of a god.

Where does the name of the band come from?

Wilhelm > It is inspired by the greek pre-socratic philosopher Epicurus, he talked about that everything you need in life to be happy is a garden, good friends and simple food. And I really like the garden symbolism so I wanted to name the band "The Gardeners" but that was taken and a Google search yielded about 9 million hits so, I changed it around a bit and added the z for good measure. Now when you google The Gardnerz, you will almost exclusively get hits about us.

Any live shows planned for the band upcoming - maybe rock festivals?

Wilhelm > Not at this moment, we had a tour booked for September but it fell through, we really would like to do some shows, so if someone wants to book us we are game. We have been talking to a smaller festival in Sweden but I don't know what happened to it.

Is the doom sound a longing for the rock of the 70's - Black sabbath, Deep Purple sound etc.?

Wilhelm > Maybe for other people, since a lot of new bands try to emulate those bands. And a lot of fans picks up the new bands. But not for me, don't get me wrong I love Black Sabbath, but I'm more in to creating slow death metal. I love a lot of the brutal death metal bands but I always wished that they would lay of the blast beats abit, and use slower drumming for the fast and technical riffs. So that is that I'm trying to do. Not always of course, still want to doomy it up a lot aswell. I guess I should have add Black Sabbath as a influence, since when you play doomy shit, they are the grand daddys. But i have no desire to get a '70s sound. I just want to do dirty raw death doom metal, and what we end up with and what other people think it sounds like, well that is another question.

What lies in the future for you - any "Gardnerz" side projects that you wish to tell us about?

Wilhelm > The main thing I'm doing now besides working is studying Portuguese, that takes up a lot of my time.Regarding The Gardnerz, we have some stuff up our sleeves , but nothing I wish to unveil just yet. The priority right now is to support then new album in any way we can. Besides that I play in a black metal band called Pandemonium, and we are working on new stuff right now. The other guys have different bands also, Niclas plays in Vandöd, Francisco in Sacramento, Inner Santvm and maybe more I can't keep track. Our drummer Vedran isn't playing in anything that I know of.

"The first guitar chord instantly makes it unmistakably clear where it comes from the band and what it does for music. Daemonicus are from Sweden and play massive, mostly midtempo even death metal, the memories of the" raises Soulless "album by Grave. Precise interaction, fat, cool riffs and deep, seething vocals are absolutely typical for the genre and know to inspire consistently. also Puteraeon struck me spontaneously as a comparison. After three demos and an EP is in "dead work" as early as the second studio album by the band. the fast passages that appear sporadically times, going to the Dismember-direction. Daemonicus invent the Swedish Death is anything but new. they must also not because they have deliberately brought together all the strengths of their scene skillfully to a brilliant recordings. here it shoots at every turn. You immediately felt young again and at a time reminiscent of the death metal world was still in order. Not too old school, but one hundred percent conscious of tradition Daemonicus make it absolutely clear, as inspired by the ancient heroes Death Metal has to sound today. and even if the production with both legs clearly are in the present, will never even begin to trend cavalry.

Rating: 9 of 10

This review was originally written in German and has been translated using Google Translate. To view the original review in German click the link below.

Radiation Sickness was formed in Indianapolis, IN in 1987 by Doug Palmer and Ryan Rollins. The band was formed mainly on addiction, depression and the love for extreme underground music. While many people seem to not even give Indiana a glance when it to came to extreme grind metal Radiation Sickness started making noise in the underground. The bands first guitar player soon left and Rick Callaway joined in. Soon after Mike Herald was added on drums due to his blast beat abilities and double kick skills. The band record their legendary “Elvis ain’t dead” demo. This demo used influences from many groups such as Napalm Death, Chaos UK, Discharge, Slayer, Cryptic Slaughter and The Accused. Radiation Sickness spent every minute playing every show they could. Tragedy struck the band in 1989 when founding member Ryan Rollins gave into his depression and committed suicide. The band pressed on adding Byron Holton to Bass. Spending every weekend on the road playing with the likes of Repulsion, Impetigo, Skeletal Earth, Immolation, Macabre, Dead Horse and so on supporting their EP “The Bounds of reality“. Radiation Sickness went into the studio in 1990 to record a classic underground LP entitled “The other Me, A journey into Insanity. This record received great reviews more countless touring and even landed Radiation Sickness on the legendary “A day of Death Festival” the first of it’s kind in Buffalo New York with Cannibal Corpse, Autopsy, Suffocation and many others. Radiation Sickness started working on material for their third LP and before completion the band split up in 1992. In October 2010 Radiation Sickness performed a one time reunion show with all original sickness members but Rick on guitar. Long time friend of the band Tom Ball joined in on guitar and brought more talent and brutal riffs to the band. RS said what the fuck that was a blast and played a couple more shows. They now have recorded and are ready to release their first studio record in twenty plus years. It will be released on Abyss Records and is entitled “Reflections of a psychotic past” the release will also include a re-mastered copy of the 1990 release “The other me, A Journey into insanity. Radiation Sickness plans to bring their madness on the road in 2012 playing several large metal fests and small tours. Look for the release soon on Abyss records.

2. What lyrical theme do you guys use in your music? What message do you want to send?

There is a small particle of time filled with misery, drug abuse, and suffering that is between birth and death. It is called life. That is the basis of Radiation Sickness songs.

3. How have the gigs you guys been doing been?

Just a lot of fun ones. Ones we would road trip to see. Very picky about the shows we play these days. We do not play a lot so we make wise picks on the shows we do play. We played CIM, A day of Death III (we played the first one back in 1990).

4. What equipment do you guys use?

Guitars, bass and drums.

5. What bands have influenced your band and its sound?

All the old school crossover and crusty punk bands, DR Know, Deviated Instinct , Napalm Death, Cryptic Slaughter Bolt Thrower, Morbid Angel Carcass. So many great bands from our era.

6. Do you remember your first show and what was it like?

A big fest in Indy with Transgression, Zero Boys, and many others. Outdoors in a dusty cornfield. I would like to say I had stage freight but I was to drunk to. Fun times.

7.What made you guys decide to form a band?

Nothing else to do, To keep from going to jail I guess. For the love of music and the hate of normality.

I could careless the more people we can reach the better. Post away like sticky notes. Boot leg us just send me free copies.

9.Is there any bands that you guys enjoyed playing with more then the others?

Repulsion was always a blast to play with. Rednecks in Pain our styles did not match but are ability to get fucked up and act like idiots did. So many bands we had a blast playing with.

10. How do you guys feel about the classifications in metal? like deathcore, metalcore and other subgenres and how some get a negative rep.

I could not tell you what Deathcore or metalcore is. All I know is if I like it, I like it.

11. What song do you enjoy playing the most?

I love A Demented Love song I from 1989 and Death Did we part Demented love song II from the new CD. All the new stuff is a blast. I will always enjoy playing The other me a journey into insanity.

12. When not doing things with the band, what can you guys be seen doing?

Working, Kids and family life. That's about it. Hanging out at other shows,

13.Your biggest band moment?

A day of Death Buffalo New York 1990, Cannibal Corpse, Autopsy, Repulsion, Incantation, Immolation the first Death Metal fest ever.

14. What is your opinion on the current state of metal?

Love some hate some. Some real good new bands out there like Black Goat of the woods from Indy. Too many kids thinking they don't have to work hard at promotions and people will just show up at their gigs. Seems like everybody has a band today and they don't last.

15. How did you guys come up with your band name?

I don't answer this question anymore, but I can tell you not from a Nuclear Assault or Repulsion song.

16. What can the fans expect to see from you in the future?

3 or 4 split sevens 2013 Reflections to released on wax. More touring mostly one off weekend mini tours. No jail time, no DUI's or OD's.

Death metal and Sweden go hand in hand like fish and chips or rhubarb and custard, until you hear The Gardnerz that is whose blend of eclectic and diverse progressive death metal owes more to mid era Death, proper Opeth and even early Paradise Lost. This is a cleverly written and well structured album with deep rumbling vocals alongside cleaner sections that will remind of Paradise Lost for many once you hear the opening tune "Don't Look Back". The riffing is harmoniously played and even though the riffs sound simple and catchy the variable tone and picking is obviously not with some parts bordering the emotion of someone like Orphaned Land in parts.

The opening triad of tunes clock around the seven minute mark as the myriad of guitar textures and semi acoustic passages sit comfortably with the straight technical death metal outbursts. The serenity of "A Horrible Disease" has definite Opeth traits sandwiched between the death metal exterior of the song. Now this album has decided to include a very unusual but rather special cover of Darkthrone's "Transilvanian Hunger" presented here as an acoustic piece and beautifully done with the vocal talents of Paulina Strihavka whose depth and tone are really quite exquisite. I can't overestimate how brilliant this version is right down to the lyrics which are hauntingly melodious and downright spine tingling.

The title track follows by returning the album to death metal where the heaviness seems to increase ten fold due to the previous songs tranquil nature. Again the riff is sublimely played and executed with enough potency to engrave onto your memory with ease as Paulina does some backing vocals here as well. The closing song "Erasing Bad Specimen" starts very humbly with a darkened greying edge of doom before the pummelling deathliness pervades. The guitar texturing is wondrous with subtle percussive elements perfectly balanced against the whispering vocal line; cue the shiver in your spine. I did detect the odd hint of Candlemass and even Memory Garden in the riffing and feel of the song and even say the mood shifts towards "Brave Murder Day" Katatonia possessing a sophisticated bleakness and ends this album superbly.

What anno 1998 began as a solo project by Karl Simon, has now not only long developed into a band, but established himself in that form also as an institution within the scene. Although there were in all the years a lot of line-up changes noted, by the fact that Charles but has always holds the scepter in his hand and pulling the strings, we may well still make it THE GATES OF SLUMBER would be "Baby" even if we know that the good man is anything but a dictator.

Although these are at present Dreher no means the new unit of Indianapolis-heavyweights, by the fact that even the underground for the most part only by the 2006 album, "Suffer No Gulit" was aware of the troops, try the same part was sometimes mistakenly do referred to as the actual debut. Here, the formation had been two years earlier with "... The Awakening" made a first sign of life and they do not even need to bring in-house on the market.

Since the part was to get but not as good as you and from that small label (Final Chapter Records) is then nothing more, a re-release was almost at hand. Devoted fan of the band will know that THE GATES OF SLUMBER oriented over time a little of the ultra-heavy doom in the direction of something "hurtigerer" orientation, but the trio still operates in rather worn rich and powerful heavy metal climes.

By being aware of this development, it should surprise, then, that one to days of that debut still knee deep in the heaviest Doom reciting and this (also in dirty, mangy form most comparable with the year-old BLACK SABBATH, REVEREND BIZARRE or LORD VICAR if they all had the same attracted the handbrake a little stronger or have) been presented.

However, it can also detect "... The Awakening" by the concise voice of the head immediately and unambiguously as THE GATES OF SLUMBER album, from which I concluded would also still report that our band and label with this re-release "The Cloaked Figure "an old, almost ten minutes Lava sound demo song as a bonus present.

Therefore should not last even the few lucky ones who call the original their own, have a good reason to invest.

This review was originally written in German and has been translated using Google Translate. To view the original review in German click the link below.

Death carnivorous example contamination of soil under the influence of Sweden and DISMEMBER AUTOPSY.

The music of some good old death metal just profess the impact of per DISMENBER AUTOPSY and in an interview. Sound making the kind of can not help but be distorted by turning the knob to the fullest extent of the GAIN for the time being. Fucking loud drums and cymbals and snare Sharishari Sharishari have always come in a set. In beast growl vocals spit cannibalism unhealthy "meat meat! Hey is enough! Insufficient" and.

Death metal contamination of soil example image that does not go mad from the jacket Sunbun band name or interpreters. It was very satisfying. Circle.

Vocal growl a little too interesting in the end.

I am close to the percussion because there is no melody basically I growl. It also, because it does not play your sound at the same time as several types of drums, I would be close to a simple percussion such as tabla. Therefore, we often differentiation is achieved by use whether or entangled with other instruments, and voice quality features, how they mix elements into non-growl.

On the other hand growl of this band. # But the most noticeable 1 "The Flesh Is Not Enough", because they change the voice to seldom profusely from the rubber-faced as each breath, it is becoming something other position like synthesizer. Usage, but actually a fairly common, meaning itself has been changed by its features. And it is suppressed bored giving color to the music itself is simply a matter of course.

And more importantly. Normal growl, tend to be abiotic or when close to the inhuman voice to emphasize aspects of rhythm, and even a little. For breathing feel clear vocals from voice change, they will growl that point, the organism is fully demonstrate. The creature may have worked for them and very advantageous. Breath and growl brutal a heinous is to promote the feeling of being mess eating the flesh and blood and combined with musical savage mentioned above, around crawling seeking human flesh creatures of painting jacket exactly.

In the scheme of the above, this work plays a stunning integrated to the extent that the music, vocals, the album concept, from boorishness received from the whole is not to be expected. 've Written or violent or dirty s got to do so far, and in fact is quite a work conceived. I have the impression that the firm has created a sound close to the band from the preceding rather than the sound of the atmosphere Jarijari, and made a short strain. It also tight bass. There is a sense of stability also played. Even if the lyrics, not only a grotesque and spit, it is dropped in while drawing to an end as well as the emotional side of eating shaking simply "Festival'm flesh and blood", "Ume~e human flesh." Depicts the story of one well with one album. If it was something that can be done by way of making this work really violent, then I would not have felt that integration mentioned above. I believe in the communion of high position and spun it happened precisely because the elements carefully.

Listen to this work with us everyone, I will be part of an organism dirty So do come. Fresh!

Aside. Though I'm a size photograph members to this bleak, I laugh photo of the members should be on the T-shirt and Dekadeka.

This review was originally written in Japanese and has been poorly translated using Google Translate. To view the original review in Japanese click the link below.

Another Swedish death metal band. This time from the dark forests of Småland. What else is there to say?

Is it a good thing to be Swedish death metal band? Isn’t the competition killer?

-The competition is hard, but the roughest thing is the judgement you get even before people listen to your music. Being branded ”Swedish death” turns some people of your music from the start and some people get very disappointed when it doesn’t sound the way they expected it to.

I’ve tried to think of any band’s in my collection that comes from Växjö and the only one I can remember is Furbowl. What a place is it to be a metal band?

-It’s an awesome metal town! The best Växjö bands you should give a try is Birdflesh and Entrails, they’re just fucking awesome! As a young band this town is good as well, lots of metalheads and good basic venues to get started on.

When you come together to form a band does it help that you have had previous experience? What was the plan with Erupted from the beginning?

-Sometimes previous experience helps we guess. The ”Plan” with Erupted was pretty much just partying and making metal, and it still is,

Is it a good thing ending up on a label that has a lot of other Swedish bands? Can you benefit from it?

-Makes it easier to feel at home, but in the big picture it hardly matters.

The cover art work makes me think of Russian Icons with a twist. How does the art work connect with the album title “In The Grip Of Chaos”?

-The pretty lady is Kali, and the symbolism from the human skin with the chaos star in the background to the daggers are there to represent how much of an influence chaos and, in some cases violence and hatred, has in our lives and way of thinking.

Your sound is based on old school Swedish death metal, or perhaps just old school death metal. How do you go about getting the right kind of sound? Do you spend hours listening to Nihilist, Unleashed, Grave, Autopsy, Death etc.?

-Beer based creative chaos!

Is there a period in the death metal history that was better than the others?

-85-98 was maybe the golden years, but there was good stuff before that and there is new awesome stuff showing up every day!

What is death metal to you?

-Good music and damn fine ideas. In some cases the perfect soundtrack to a gruesome story.

How do you intend to make most possible people aware of the album’s existence?

-We are hoping that it will spread a lot through word of mouth and the internet. We will try to PR it as much as possible through live shows as well.

What other plans for the future do you have?

-Hopefully someone will start offering some more shows, and we would really love a chance to play in some different countries, so the plan for the future is pretty much playing shows, drinking beer and taking over the fucking world!

Thanx to Abyss Records we can enjoy again this jewel from USA. It has been out of print for a long time, and it truly worth to get it. Heavy guitars announce an excellent storm of doomed and obscured music, deeply rooted on the most traditional way of the 70’s. If names like Cirith Ungol, Manilla Road, or Saint Vitus are familiar, you will know what the hell I’m talking about. Shit! From the first track, they made clear what they want to sound!! As I said before, guitar riffs are solid as a big dick, and they make an excellent work delivering amazing epic lines throughout melodic and psychedelic tunes. They know the language of death, and create some excellent atmospheres full of oppressive riffs and organic (to say something) drum rhythms. My favorite is the song “The Jury”, which is an excellent example of “stoned” heavy metal, linked to the sound of 70’s rock music. Guitar riffs truly are a trip to the unconsciousness, beyond a cluster of twisted notes, and a pragmatic wall of sound. The song includes an excellent solo guitar. I recommend this piece of doomed metal with a couple of drinks. The whole bottle is better. As extra info, the cover art was made by Ken Kelly (Manowar, Rainbow, etc)

Serbia isn't necessarily the first country your mind associates with Metal music. However, as we have heard so many times, good Metal music can come from any country, even Serbia (or, more officially, the Republic of Serbia), which is located at the crossroads of Central and Southeast Europe and has a population of over 7 million people.

That's where the geography lesson ends. Bane, a 3-piece extreme and melodic Black/Death Metal outfit, from Novi Sad, has been around since 2006 and has recorded two full-length studio albums; the band's debut, Chaos, Darkness & Emptiness that came out in 2010, and the follow-up album, The Acausal Fire, which was recently released via Abyss Records. Both records showcase Bane's burning, creative fire and sheer undying determination to reach the masses. Crisscrossing around Europe playing gigs has helped gain ground and the band is finally getting some of the recognition they deserve.

Vocalist and guitarist Branislav Panic took some time to tell The Metal Crypt more about this Serbian secret. Read on...

Luxi: So, there's a new Bane album coming out soon (Ed. November, 6, 2012 according to the label's website), titled The Acausal Fire, which will be released by Abyss Records. You must feel pretty thrilled about this, correct?

Branislav: Definitely! This is without a doubt Bane's best material yet, so I'm looking forward to having this album released and playing the songs live. Also, it will come out as a really nice 3-panel digipack-CD, very professionally designed, so I really can't wait to have this release available worldwide.

Luxi: What can you tell us about this 9-track offering (or 10, depending on which version you get)? Was it a tougher and more challenging process compared to the debut, Chaos, Darkness, Emptiness, which came out on Grom Records in 2010?

Branislav: When comparing the new songs to the ones from our first album, I can truly say that The Acausal Fire sounds much more mature than Chaos, Darkness & Emptiness. So my answer would be yes, indeed. Much more time was put into the writing/arranging of the new songs and lots of time was spent harmonizing all the instruments. On this album we've achieved new heights; clean/choir vocals, keyboards, and playing up to 240 bpm; none of this would have been possible on previous Bane recordings.

Luxi: Were you able to avoid making any compromises, either song or sound-wise, or were there things that you were forced to do because of time or other studio limitations?

Branislav: Luckily, everything on the album sounds exactly the way I wanted it to sound. This time I wrote all of the music and lyrics for the album (except "Light the Black Flame"), sang all vocals (growls/screams/clean vocals), recorded all guitars (lead/rhythm/acoustic), and wrote most of the drum parts for the album, with help from Nokkturno who also recorded the bass lines. So, the final product sounds really how I imagined it before we entered the studio. However, I must add that I would probably never have been entirely satisfied with anything if it wasn't for our producer, my long time friend, Honza Kapak, who is the owner of Hellsound Studio.

Luxi: Are there some songs on The Acausal Fire that you like more than others or that are personal favorites?

Branislav: That's a very tough question. You know, it's always hard to choose just one child when you have many of them, as they say. I can't say that this or that song is my very favorite, but there's one song that I really like and means a lot to me. It is a song called "Existence in Denial", and it's actually a vocal duet I did with my brother Patrik from Anachronaeon (Sweden). We have been friends for a long time now, and I have always been a huge fan of his music so I'm really happy we did something together.

Music-wise, I think the most professional-sounding track on the album is "As Chaos Rises", which is why we chose it for the 7" split EP we recently released. That version contains guest vocals from Danish musician Lord Beezanborgh.

As for playing live, I really enjoy playing and singing "The Truth Unleashed" ( youtu.be/ZAvPBvpw_Hw ) a lot, because it is really intense and interesting for me to perform. Also "In Endless Silence" is an easy-listening melodic track that we chose for our first single and video. It sounds very Swedish, mid '90s-like.

Luxi: Just as on your debut album, you recorded The Acausal Fire Hellsound Studio in Èestice, Czech Republic. Is it hard to find professional recording studios in your home country of Serbia, or has it been the band's own choice to go outside of Serbia and record elsewhere?

Branislav: Well, as I mentioned earlier, Honza and I are long-time friends and when I can choose, I would always work with him because he really is one of the best producers in Metal today, and he is probably the best musician I have ever met in my life.

But to answer your question more precisely, 99% of all studios here in Serbia, and amateurs who claim to be "producers", are total wrecks, lifeless beings who don't know ANYTHING about the recording process itself, sound engineering or production. I know that because I also work as a sound engineer myself (mostly live) and do some home recordings (ex. just recently I finished Keychain – my side-project, you can check out the single "These Empty Skies" here: http://www.youtube.com/watch?v=8a3HDGoD ... ure=relmfu).

So, why don't I record/produce Bane myself? I admit that I am simply not good enough at it. I don't have the biggest ego in the world, as opposed to the, as I like to call them, "cult producers" in Serbia. Between 2005 and 2009 I unfortunately worked with many of them, and there is simply no one who can get the job done right, or even least decently.

Luxi: You had Honza Kapak taking care of the engineering, mixing and mastering on this new Bane record, just like on your debut album two years ago. Is he the type of guy who truly has the understanding of what it takes to produce a band like Bane or did you have other names in mind before you entered the studio?

Branislav: Again, as I mentioned above, Honza is my #1 favorite Metal producer, and there is absolutely no other person with whom I'd rather work with on Bane's recordings. There is just not much more to say. You'd really have to spend a few hours in the studio seeing him work, with any band, and you'd realize how awesome this guy is at what he's doing. So, any bands that want to work with this amazing musician/producer/sound engineer, feel free contact him at: hellsound666@gmail.com

Luxi: Many people have made comparisons between your stuff and Sweden's Dissection. How much would you say Dissection was an influence on you when you started this band back in 2006?

Branislav: Honestly, Dissection is the reason Bane exists. It's without question my personal favorite Metal band of all-times. The vast majority of my influences come from this band; it's simply endless inspiration for me. Of course, back when I started the band, in 2006 as you said, I did not really have the knowledge or skills to play anything similar to Dissection, but as the years went by, it's pretty logical to see why people compare us to them, as our music is heavily influenced by those Swedes in Dissection (R.I.P.).

Luxi: You recorded a cover version of Dark Funeral's "The Dawn No More Rises", and included it as an exclusive track on the digipack version released by Abyss Records. Where does your fascination for all these Swedish melodic Black/Death Metal bands come from?

Branislav: Correct. Well, being in Metal for 10 years now and having listened to or heard just about all the sub-genres, I can say the Swedish style Black & Death Metal (especially from the mid '90s) is definitely my cup of tea. In my opinion, it's the most thought-out Metal genre because it simply has everything in it: aggression, melody, various types of vocals, etc. Every element is present and makes the music sound so rich.

Luxi: Are there any other bands in Serbia with a style similar to Bane that have chosen to perform this more melodic, Swedish-style of Black/Death Metal (Dissection, Naglfar, Mörk Gryning, Unanimated and the like)? Obviously you are not completely alone with the type of stuff you do...

Branislav: Actually, we were literally the only band in Serbia (and quite possibly in the Balkans) playing that Swedish-styled Black/Death Metal until our current bass player, Bojan, formed his own band called Paimonia. They play, more or less, the same style we do.

Luxi: Bane did their third European tour in early 2012, the "Keepers of the Black Flame" tour, with shows in four different countries: Czech Republic, Slovakia, Hungary and Serbia. How was overall the response on this tour? Were you able to connect with new gig organizers, bands and so on?

Branislav: That was the best tour Bane had until this date. To my surprise, we sold out all of the merchandise we had brought along and we had some great times with the bands on the tour.

As for contacts, not really, as most everything was done with friends of mine I already knew, but we did have to chance to see some other really great bands that were playing as supports.

Luxi: You have also done some one-off concerts and festival appearances in countries like Poland, Germany, Romania, Hungary and so on, sharing the stages with some bigger and more well known international acts (Malevolent Creation, Root, Decapitated, etc.). How different is it to play in countries, like Germany or Poland, that are known for their huge Metal scenes, versus countries like Macedonia or Hungary where the Metal scene (with less music clubs, concerts venues, less everything. really), isn't necessarily as advanced or, may I say, not as professionally organized?

Branislav: I must say that I am really impressed by your knowledge of today's Metal scene, (Thank you. Your compliment is well taken – Luxi) and how updated you are, knowing that you come from a country which is miles and miles away from where I am.

Anyway, your question basically contains the answer to this subject. Bane have played in over 10 European countries thus far, and I must admit that, in most cases, the difference between clubs, equipment, organization and everything that comes with that is huge when comparing the countries that you mentioned. Although, I would like to point out that from my experience, The Czech Republic and Slovakia are the best countries, professionally, at least for Bane concerts.

Now, a pretty important thing to remember is that when most underground bands, such as us, play in a country that has a very healthy Metal scene, we don't really get much feedback from the audience, media, labels, etc. However, in countries like Macedonia, Bosnia, Bulgaria, we have always gotten an enormous amount of great feedback, probably because the people, referring to Metal-heads mostly, are still "hungry" for Metal, new bands, concerts, etc. From my experience (since I've, more or less, been constantly touring Europe since 2009), the response everywhere else is weaker and weaker, unless you have grown a fan base in some cities, which in our case can best be proven in Sarajevo (BiH), Burgas (Bul), and so on...

Luxi: Do you believe that if Bane originally came from some other European country, like Germany, Holland or France, people would talk a lot of more about you?

Branislav: I am absolutely 666% sure that that would have been the case. Some people just cannot imagine the kind of problems I am facing simply because I live in Serbia. I would be sick to my stomach if I started writing about some of the usual, everyday stuff that is going on here. It literally makes me sick. People who know my position and this country know and those who don't... well, maybe it stays that way. I guess it's better if some things are left in the dark.

Luxi: What does Serbia lack most, from your point of view, as far as the music industry is concerned?

Branislav: First and foremost, it would probably be a stable financial/economical situation. Right now it is almost impossible for people to buy merchandise and tickets to shows and for organizers to rent quality clubs, good equipment, etc. An average monthly salary here is about 200-250 euros, while some people work for only 70-80 euros a month, and that includes the fact that food prices here are similar to those in Poland, Czech Republic, etc. where people work for a much higher amount of money.

Apart from that, people here still need to learn (in my opinion never will, but who knows, time will tell) that bands need to support each other and that Metal is Metal, no matter what style you play. I mean, we have no TV show supporting Metal, no magazines about Metal music (only 2-3 webzines), 2 or 3 underground Metal labels, and that's basically it.

Luxi: How's the local Metal music scene where you live? Are there some cool places for Metal bands to play? Are there any record stores, in which bands could get their stuff sold, in your area?

Branislav: I don't know if you will believe me here, but I have no reason to lie. I currently live in Novi Sad, which is the second biggest city in Serbia, where 300,000+ inhabitants live. There is not one Metal club or Metal shop in my city, so, I guess, only the deranged mind would be into Metal while living in Novi Sad, or Serbia in general.

Luxi: As soon as your second album, The Acausal Fire, is out and hits the stores, what kind of plans do you have to support it?

Branislav: We just completed a 3-date Bulgarian mini-tour, and, this weekend, we have a Bosnian/Serbian mini-tour as well. The plan after that is to get as many reviews of the new album as possible, because the band will be on-hold from November 2012, and I will be re-locating to Canada. I actually lived in Quebec for 10 years but returned to Serbia in 2004. Anyway, the plan is to find a new live line-up there and to tour North America as much as possible. We will see how it goes eventually...

Luxi: Do you have plans to arrange a record release party in your hometown after you receive a couple of boxes of your new album to sell?

Branislav: As I told you, it's impossible to do it in Novi Sad, because there is no club where I can arrange a release party. Only a "record listening party" could perhaps be arranged, but I'm not too sure I would be up for that. The only Serbian date when our band will be promoting the new stuff, is on the 6th of October, in the Capital of Serbia, Belgrade.

Luxi: What about plans to get a whole concert on DVD some day? Have you been talking about that possibility?

Branislav: Well, we are a really small band at the moment. Maybe after Bane's fourth full-length album or something, I may start thinking about that more closely. Until then I am pretty sure it won't happen any time soon.

Luxi: If you take a quick glance in a crystal ball, what does it tell you about the future goals and achievements of Bane?

Branislav: Well, as mentioned just earlier, it would be really cool to spread the chaos on North American soil. That is the only goal that I have thus far, apart from having a third full-length album released some time in 2014. But it's too early to speak about that yet.

Luxi: We have come to the end of this interview and I want to thank you, Branislav, for your time and for speaking to The Metal Crypt. I also want to wish you all the best with all your future endeavors with Bane. May your road be paved with great things. Any last comments or curses perhaps?

Branislav: Thank you, brother, for the support, I really appreciate it. As for the readers of The Metal Crypt; keep on supporting underground Extreme Metal, and be sure to check out our new full-length album The Acausal Fire that was just released on Abyss Records (USA).

The first impression is deceiving a little: rifft As the guitarist in the best scale manner in the opening track "Do not Look Back", and almost one is already inclined to dismiss THE GARDNERZ and their EP "It All Fades" as nice, but unaufregend. Sure, the Southern did last year with their first album "The System Of Nature" already something done right, but also evoked no enthusiasm. Can of course be at the genre in which it is situate THE GARDNERZ: Power Doom, if you want to point out that the band is in the fast midtempo road before, Death-Doom when Grunzgesang to be highlighted.

Now that is "It All Fades" and the first impression. It's worth more but listen.

First, the musicians learn and have their merits earned in bands like tristitia or VANDÖD. And the musicians are good. Second, THE GARDNERZ songs at the start, grab a sometime by the collar. Liquid, fluffy, varied, diverse in their genre. Since there is zippy-skillful drumming, polyphonic guitar leads, occasionally a solo. And. A singer who is perhaps not the best grunts of the world, but made an effort to change wealth And then a nice interlude with pretty harmonies and melodies.

Which brings us to DARKTHRONE would. Or at the cover of "Transylvanian Hunger" - albeit completely in the style of HELL SONGS acoustically and kept with female vocals. And the song still works. On the one hand, of course, a confirmation of what songwriting generic class itself can inhere a raw black metal song, on the other hand the evidence of the class of Sweden. For me "Transylvanian Hunger" clearly the best cover song this year.

The remaining songs will then move sovereign again in Death Doom genre. This is not always a stroke of genius, but always well above average. So anyone who feels comfortable in these regions, THE GARDNERZ should simply antesten times. Where the debut album was a duty rather, is "It All Fades" the cure. And both sides have their charms.

This review was originally written in German and has been translated using Google Translate. To view the original review in German click the link below.

I hate the intro metal album, especially if you are over 40 "and Bane make it a martial 2'58". I would like to ask these black deather Serbs who the hell changes have an intro so long and that has nothing to do with the rest of the music. Forgive me for venting, I know that it is the practice employed by many (Cradle of Filth for example) but just yesterday we were talking about this in the newsroom. In any case, the Bane are Serbs (Novi Sad) and furious and think of them I saw the promotional photos and the faces looked like jokers. No, none of that. The Bane sound a blackened death metal and, for once, not derived from the Polish Behemoth, Swedish black metal but by then the Dissection and Marduk. So a sound that, at least in parts black metal, has an aura of chaos expressed at high speed, however sharp and distortion that vein epic and atmospheric together. "As Chaos Rise" might be a good stylistic manifesto for Bane. The alternation of fast parts, where the blast beat Occultum Malleus are accurate and changing the guitar and working Branislav is an embroidery neutral aggression alternating polyphonic melodies and terrifying. The differences in the pieces, the collaboration between the sectors is black and death metal school Dissection (for example, "Desolation World", "Night's Blood"), although not reaching those levels, but that makes the songs harmonics. Translated: there are no voltage drops because the songs are very successful. "The Truth Unleashed" Dark Funeral remembers a few years ago, the melodies are more ruthless in that direction. In the middle of album you realize that the incipit is subscribed to two types of standards: shot blast beats with chaotic black metal riff or melody attached cold and so much to the atmosphere, always with drumming absurd. Then comes a beautiful death or thrash metal riffs and double bass that dominates. Then follows the rest of the changes in the speed or the structure of the guitars and the adjoining low Nokkturno, unfortunately hidden by mixing. Repetitions feel this album, but Bane can express through strength and dynamic sound that evokes the glorious tradition of Swedish black metal.

Rating: 7/10

This review was originally written in Italian and has been translated using Google Translate. To view the original review in Italian click the link below.

The DAEMONICUS are Swedish and are all in the notes that make up this second album. Sound between the Grave and Dismemeber (as for "A Dead Work of Art", "Blood Red November (MDXX)," among the most excessive) scattered in the path, but there is also death metal less "national" for the band in this "Deadwork", as in "Embracing Her Remains", "We Feast on Your Flesh" or "Alive From Dead to Life", seductive song in mid tempo, or "Nothing but Death." The pattern of the battery are extremely robust, but Johan Hallback equally buoyant and neat touch. In more than 43 ', the band showcases a clear sound, certainly derived but well produced. No news on the one hand and the pieces are effective in structure, the melodies DAEMONICUS not have an equivalent in skill. I mean who did everything well, so well that it all seem much (and too) compact. The pieces are distinguished by type of songwriting, as well as some good ideas that are still around. Dissatisfied? No, they are just as good and so much talent I would have expected something more, but DAEMONICUS are certainly not to be thrown away.

Rating: 7/10

This review was originally written in Italian and has been translated using Google Translate. To view the original review in Italian click the link below.

I guessed that they were from Finland as soon as I heared the crazy intro, and they are. This is a duo that call their music "horror death rock", and why not? It's actually a perfect description on this. It's a mixture of many rock and metal elements, with both growling and melodic vocals."Rock N' Rott" is the band's debut album, which is a story about the apocalypse as seen through the eyes of a zombie. It's full of black humour and gore, but also many references to real life.Not bad at all, could actually be worth checking out. But I guess rockers will be more satisfied with this than death metallers.

RADIATION SICKNESS was formed in Indianapolis, IN back in 1987 already by Doug Palmer and Ryan Rollins (r.i.p). A couple of members have come and left through the years. In 1989 Ryan Rollins commit suicide, but the band continued until 1992. In 2010 they did a reunion show, which was meant to be a one-time thing, but it obviously worked so well that they decided to continue.Their influences comes from both metal and hardcore/punk bands - NAPALM DEATH, CHAOS UK, DISCHARGE, SLAYER etc. I guess we can call it grind core, but there's a lot of old-school hardcore/punk in it too. It's hard but not too intense and noisy. Somehow they menage to always have a melody in their songs, and I like that. And even though there's as much as 19 tracks, it's over in approximately 37 minutes, so you see, it just can't be bad.Really good stuff that should fit like a glove for both extreme metallers and punks.

Originally this debut album came out in 2004 on Belgian label Final Chapter Records. Given the recent upswing in popularity within the traditional doom/ heavy metal community for this Indiana act- especially over the course of their last three studio albums "Conqueror", "Hymns of Blood and Thunder" and last year's "The Wretch"- the band (and fans) I'm sure felt it necessary to re-release this 8 song outing and tack on a 9 minute plus bonus cut for "The Cloaked Figure".

"...The Awakening" is an effort from a trio of musicians hungry for respect in a genre that doesn't get enough credit for its place in the metal community. Doom will never be the golden child, destined to always appeal to those who feel the lethargy and pain as a sign of relative comfort. Black Sabbath, Saint Vitus, and Pentagram rule the creative flow of these songs- Karl Simon the electric riff maestro and holder of the melancholy voice, Jason McCash the four string bass demon and Chuck Brown responsible for pounding the snare and cymbals at a sleeping pulse rate.

Keeping the production primitive adds older allure- the wah wah bass opening to "The Jury" intoxicating and mysterious all the same before Karl's riff groove kicks your body into a lumbering, protracted head whipping stance. The Gates Of Slumber live in a classic doom world- there's no desire to hit the stoner or funereal community here with metal at the forefront of their musical philosophy. If Karl feels the need to extend a solo break or the band wishes to dig deeper into the main riff for jam's sake- so be it.

Music that touches the soul needs to have the combination of care and truth. You'll feel it in "...The Awakening"- and hopefully seek out these 5 albums to realize what a glorious doom act with traditional leanings can achieve.

They have not decided about puppies, love, these six Swedish band. Previously on Cut and death do etcetera. For their logo and artwork they looked six years ago just over the fence to compatriots Dismember and gone these Latin demon. Dead Work is the name of their second album, a meaningful name, though they had him 'joinery may call.

The beech (s) wood retrieve them from the typical Swedish death metal workshop. The splinters fly off like they do with the old school groove plane over brushing. On decaying wood that they spray a thin layer of glossy varnish melody. Runs for a frivolous motif at the end worry, melodic counterpoint during the In Flames -like choruses or even a fresh but very moderate free solo. These graceful melody and filthy grooves slide hurry Carcass -iaans together and there's the loose, instinctive carpentry definitely something to do. Sometimes at mid tempo beech drums shod wrikriffs slow, then a piercing polka groove. It keeps all the way top varied with lots of tempo changes.

Another Swedish specialty is high howler and schreeuwbalg as glue between the carpentry work depends. Groove Scythe Inhabited has a wonderful Carcass vibe with melody shoots and is therefore a perfect showroom model. The better joinery, which is far from poignant, this Dead Work.

Rating: 79/100

This review was originally written in Dutch and has been translated using Google Translate. To view the original review in Dutch click the link below.

On the not very telling name The Gardnerz hears these Death-/Doom metal band from Sweden, founded in 2008 and in 2011 published a complete album. To shorten the waiting time for the next album a bit, they now an EP for a total of six songs contain. And the mixture offered here is really interesting. At first, everything looks like a modern death metal album, but this is not really true. The lead guitar reminiscent desöfteren the last Death album. The fun level is high, but never so overloaded that neglect the Swedes their songs. Quite the contrary! Everything blends in seamlessly and makes for good variety and much headbanger suitable rhythm. In the meantime interspersed passages of doomy dirge reminiscent of My Dying Bride, without copying them but dull. One thing I do not want to go into his head completely out of the ordinary is the fact Darkthrone cover song "Transylvanian Hunger". And not only on paper! With Darkthrone neither the sound of the band, yet this version also has to do something only partially! "Transylvanian Hunger" was the räudigste stumpfsinnigste and their albums and made sure that in the years to quite a lot of bands have shit on good sound and all have recorded in the rehearsal room with the tape recorder. There are but a very nice acoustic ballad with the same elfin female vocals, which reminds me of the "Calling The Rain" EP of Atrocity with singer Yasmin Krull. Completely different from the rest of this EP, but by the successful surprise definitely a plus! The Gardnerz care in each of the songs included here for positive surprises. I think I need to really listen to the album once, to make me a proper picture of this interesting band.

This review was originally written in German and has been translated using Google Translate. To view the original review in German click the link below.

In "The Awakening" is not a new album by the band to beard Karl Simon, but a re-issue of the debut work of 2004, which is then released on the Belgian label micro Final Chapter Records. First of all, falls on the really very quiet and muffled sound of the album, here was mastering champion Dan Swanö well if the sub-optimal original recordings save little or nothing, on the other hand, a so beautiful then-shuffling heavy Doom album also antanzen necessarily with sterile soundfacette. Back then, in 2004, Karl Simon entrenched but rather behind the traditional Doom, the power, subsequent releases, such as "Conqueror" (2008) , or the two appeared at RISE ABOVE RECORDS Thunder "Hymns of Blood & "(2009) and "The Wretch" (2011) is on "The Awakening" only rudimentary, the "newer" THE GATES OF SLUMBER thunder as compared been different through the wooden structure. seems easiest to "The Awakening" as yet trailblazer for - for many fans and critics - probably best THE GATES OF SLUMBER album so far titulieren ("Suffer No Guilt" 2006 via I HATE RECORDS). Ausfernde song lengths wherever one looks, only "The Executioner" indicates the rather powernde side of the trio, but it is (almost) more forward driving metal, for doomy stuff. The rest, however, is going down the Doom friend as the hobgoblin his much needed dose Met As a bonus ABYSS RECORDS have the re-release the bonus track "The Cloaked Figure" (a longer version of 2004's eponymous demo) donated, all of those one provides additional incentive to provide only the more difficult to obtain first work of Indianapolis to Doomster into local digs. Although it must be said that it is the latter-THE GATES OF SLUMBER come across yet compelling to some.

This review was originally written in German and has been translated using Google Translate. To view the original review in German click the link below.

Who has all of these gardeners heard? The Gardnerz comes from Sweden and brings an interesting mix of doom and death metal, but also with some other emphases. Last year they released their debut The System of Nature out, and apparently reached our editorial board who do not. With this EP It All Fades is the case, and I am sure no regrets.

Who Sweden and doom in the same sentence says can not usually pass Candlemass and also in Sweden is that these four foundations undoubtedly included in the music. That lingering feeling pieces, perhaps here and there a little dryly, are thrown into the pot with rolling, but far from aggressive death metal pieces. Beautiful tailored to a sense plate to serve and the highlight of this band lies without doubt in this most beautiful interludes with sparkling guitar acoustics, which is actually totally independent of doom or death, but by The Gardnerz nicely fits into the whole. Normally I'm not for covers, but I usually just sacrilege by saying that Darkthrone classic pretty sensitive about coming. You can compare what the emotional stew that a band like Anathema in the past managed to make a song like Better Off Dead by Bad Religion . Latest extremely favorable factor is the slight inclination to the proud Primordial -like vocals Niclas here and just try.

The Gardnerz makes my feeling so interesting. Well, this death and doom have already heard, but the acoustic aspect and the amusing interactions make a significant chunk of here anyway. Hopefully they send the next full-length is on!

This review was originally written in Dutch and has been translated using Google Translate. To view the original review in Dutch click the link below.

1. The Tomb Awaits 2. Unleashed with Wrath 3. Crawling Death 4. Eaten by the Dead 5. To Live is to Rot 6. Undead 7. The Slithering Below 8. End of All Existence 9. Collection of Cracked Heads 10. Remains in Red 11. Total Death 12. Unspeakable Obscenities

“It All Fades” is the follower of the “System Of Nature” the debut record of the Swedish Doom / Death Metal band THE GARDNERZ.It is not categorized as a full length album though a 36-minutes record is usually promoted as a full length album. Anyhow in this record are five original compositions and one cover of the almighty “Transilvanian Hunger” of DARKTHRONE.

The songs are generally in slow - muddy tempo with developing guitar melodies but there are occasional variations. There are some fast parts from times to times and a lot of acoustic passages that are really interesting. There are three kind of vocals in this record. Most of the songs are combinations of Death growls (I could say reminiscent of NILE / DEICIDE) and clean vocals. There is also a guest appearance by Paulina Strihavka that sings some parts in the homonymous song “It All Fades” and handles all the vocals in the record’s cover. When I listened to the record I hadn’t noticed that there are any cover songs. So, the intro kicks in and I am like “Is this a KANSAS cover of “Dust In The Wind” or what?” and when I heard the first words saying “Transilvanian Hunger” I was shocked. The cover has nothing to do with the original song, instead it follows another direction in the path of the Swedish lounge trio HELLSONGS. But and there is big but here … the atmosphere is so dark and her voice is so haunting and mesmerizing the song manages to captivate all the blackness of the original song. I definitely consider that to be the highlight of the record - and totally irrelevant to the style of the rest of the songs.

Overall “It All Fades” is not a bad record but nothing that I would really look up into. The production is raw with guitars and vocals in the predominant levels. The compositions have some really good moments but I think that it doesn’t have that something that would keep the listener into it. The only thing I really liked and will remember from this record is the exceptional cover of DARKTHRONE that is haunting repeatedly my playlists. But to tell you the truth is not the best thing to remember a new band just by its covers.

The first guitar chord instantly makes unmistakably clear where the band is coming from and what it does for music. Daemonicus are from Sweden and play massive, mostly midtempo even death metal, the memories of the "Soulless" album by Grave raises. Precise interaction, bold, cool riffs and deep, seething vocals are absolutely typical for the genre and know to inspire consistently. Also Puteraeon me fall spontaneously as a comparison. After three demos and an EP is in "dead work" as early as the second studio album by the band. The fast passages that appear occasionally even go in the direction Dismember. Daemonicus invent the Swedish Death is anything but new. They must also not because they have deliberately brought together all of their strengths to a brilliant scene skillfully records. It shoots at every nook and corner. You immediately feel young again, and to remember a time in which the death metal world was still in order. Not too old school, but they're certainly conscious of tradition but Daemonicus make it absolutely clear, as inspired by the ancient heroes death metal has to sound today. And even if the production with both legs clearly are in the present, will never even begin to trend cavalry. Everything right, guys!

Rating: 9/10

This review was originally written in German and has been translated using Google Translate. To view the original review in German click the link below.